AARAdventure
Floor Slab Effigy of Perna Savelli in the Basilica Santa Sabina all'Aventino
The effigy of Perna Savelli (d. 1215), with an illustration of the family crest executed in mosaic. She was a member of the family who once owned the property and the house adjacent to the church.
Santa Sabina all'Aventino is a paleo-Christian church and minor basilica on the Aventine, dedicated to Saint Sabina, a legendary second-century martyr reportedly killed in Umbria in the year 114. She was reportedly denounced by one of her own slaves named Serapia, and her relics were eventually brought home to Rome and placed in the new basilica in the fifth century on the site of what was previously her house. The revised account in the Roman martyrology, however, states that the story is actually conflated with that of a completely different person and St. Sabina was simply the original founder of the church, as the original dedication was to SS Sabina and Serapia, which seems odd if the latter figure was the person who reportedly denounced her.
The church is attached to the General Curia of the Dominican order. It was constructed in the fifth century, possibly in 425 by an Illyrian priest named Peter on the original site of the Titulus Sabinae, one of the first parish (house-) churches of Rome, often originally previously the sites of private residences where Christian congregations met. Curiously, the original foundation epigraph in mosaic on the façade above the entrance door still survives. The Aventine was an affluent area home to numerous temples, including the Temple of Juno, and the homes of patrician families. It is said that Sabina was a wealthy Christian woman who owned a house in one of the more exclusive areas of the neighborhood, as the property was located on the crest of the hill, overlooking the river with magnificent views of the surrounding hills. The church was restored first in the eighth century, and again in 1216 when the church was given to Dominican friars by Pope Honorius III. St. Dominic even lived there in the adjacent friary shortly before his death in 1221; other famous residents included Thomas Aquinas, Pope St. Pius V and St. Hyacinth. In 1586 the interior of the church was remodeled extensively, when the schola cantorum, ambones and iconostasis were demolished, and the mosaic in the apse was apparently removed as well as it was in a very poor state of preservation. Some of this work was reversed in the 20th century in two phases, which occurred from 1914-1919 and from 1936-1938 with many of the post-medieval alterations and additions removed to restore it to its (possible) original state. Its large windows which were previously walled up have been restored, and now admit much more lighting, so its interior is somewhat different than many other early churches; in the medieval period many of the windows were reportedly filled in because of the belief that less light provided better conditions for prayer and meditation, but in reality it was probably due to concerns over the structural integrity of these ancient buildings.
Perhaps its most valuable feature is the entrance door, which dates to an incredible mid-fifth century. It is made of cypress wood and features 18 of the original 28 panels, which feature scenes from the lives of illustrious figures. Most significantly, the crucifixion scene in the top left-hand corner may be the earliest preserved representation of Christ crucified between two thieves in Western art, but interestingly, the cross of Christ is not readily visible. The panels are probably the work of two collaborating artists. The present arrangement is probably not the original one, but the result of a restoration dating to 1836.
Floor Slab Effigy of Perna Savelli in the Basilica Santa Sabina all'Aventino
The effigy of Perna Savelli (d. 1215), with an illustration of the family crest executed in mosaic. She was a member of the family who once owned the property and the house adjacent to the church.
Santa Sabina all'Aventino is a paleo-Christian church and minor basilica on the Aventine, dedicated to Saint Sabina, a legendary second-century martyr reportedly killed in Umbria in the year 114. She was reportedly denounced by one of her own slaves named Serapia, and her relics were eventually brought home to Rome and placed in the new basilica in the fifth century on the site of what was previously her house. The revised account in the Roman martyrology, however, states that the story is actually conflated with that of a completely different person and St. Sabina was simply the original founder of the church, as the original dedication was to SS Sabina and Serapia, which seems odd if the latter figure was the person who reportedly denounced her.
The church is attached to the General Curia of the Dominican order. It was constructed in the fifth century, possibly in 425 by an Illyrian priest named Peter on the original site of the Titulus Sabinae, one of the first parish (house-) churches of Rome, often originally previously the sites of private residences where Christian congregations met. Curiously, the original foundation epigraph in mosaic on the façade above the entrance door still survives. The Aventine was an affluent area home to numerous temples, including the Temple of Juno, and the homes of patrician families. It is said that Sabina was a wealthy Christian woman who owned a house in one of the more exclusive areas of the neighborhood, as the property was located on the crest of the hill, overlooking the river with magnificent views of the surrounding hills. The church was restored first in the eighth century, and again in 1216 when the church was given to Dominican friars by Pope Honorius III. St. Dominic even lived there in the adjacent friary shortly before his death in 1221; other famous residents included Thomas Aquinas, Pope St. Pius V and St. Hyacinth. In 1586 the interior of the church was remodeled extensively, when the schola cantorum, ambones and iconostasis were demolished, and the mosaic in the apse was apparently removed as well as it was in a very poor state of preservation. Some of this work was reversed in the 20th century in two phases, which occurred from 1914-1919 and from 1936-1938 with many of the post-medieval alterations and additions removed to restore it to its (possible) original state. Its large windows which were previously walled up have been restored, and now admit much more lighting, so its interior is somewhat different than many other early churches; in the medieval period many of the windows were reportedly filled in because of the belief that less light provided better conditions for prayer and meditation, but in reality it was probably due to concerns over the structural integrity of these ancient buildings.
Perhaps its most valuable feature is the entrance door, which dates to an incredible mid-fifth century. It is made of cypress wood and features 18 of the original 28 panels, which feature scenes from the lives of illustrious figures. Most significantly, the crucifixion scene in the top left-hand corner may be the earliest preserved representation of Christ crucified between two thieves in Western art, but interestingly, the cross of Christ is not readily visible. The panels are probably the work of two collaborating artists. The present arrangement is probably not the original one, but the result of a restoration dating to 1836.